Liz Worth

Jeanette Lynes is from Hanover, Ontario and is the author of six collections of poetry and one novel, The Factory Voice, a finalist for the Scotiabank Giller Prize and the ReLit Award. Lynes has taught creative writing at the Banff Centre, the Sage Hill Writing Experience, St. Francis Xavier University, and the University of Manitoba. She is a former editor at The Antigonish Review, and is currently Coordinator of the new MFA in Writing at the University of Saskatchewan.

Artifice and interface

We live in machines but are not machines. Restless forms imagine new presents, where past and future meet. As becoming-digital beings, we retain and engage the problem of embodiment, which needs a world, needs other forms, needs to die. Death is our stake: neither early nor late.

Postscript // Bibliography // Acknowledgments

T.1 The poem is ontologically dissevering: necessarily fragmenting and framentary.

T.2 Holding concretized, ready-made “significance” and in abeyance, the poem functions as a catch, an apparatus used to observe the manifestations and codeterminations of entangling and unfurling world(s).

T.3 So as to render inoperative those ossified subject-configurations most exploitable by market vampirism, the poem tears back the veil of the “real” (where flesh meets fluorescence: body/world) to point to the rachitic frame-structure bolstering becoming.

In order to celebrate the conclusion of “Prolegomena to (Any Future) Process Poetics,” I’d like to provide a postscript that distills the central concerns of these twelve dense riffs into a series of pointed propositions. The following twenty theses comprise the core of this thinking and will act (I hope) as a lens for future rereading. Thank you, dear readers, for engaging with/in this work.